用于“Atlas解剖”的钢板（未出版） - 美国大都会艺术博物馆展品查阅

品名（中）	用于“Atlas解剖”的钢板（未出版）
品名（英）	Plate for the ‘Atlas Anatomico’ (unpublished)
入馆年号	2016年，2016.686
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Crisóstomo Alejandrino José Martínez y Sorli【1638 至 1694】【西班牙人】
创作年份	公元 1680 - 公元 1694
创作地区
分类	印刷品（Prints）
尺寸	Plate: 26 7/16 × 20 3/4 英寸 (67.1 × 52.7 厘米) 页: 27 7/16 x 21 9/16 英寸 (69.7 x 54.7 厘米)
介绍（中）	带有基座和方尖碑的广场建筑视图。作品分为两半，上半部分有14个不同姿势的人物，以轮廓描绘，重点是他们的骨骼结构。12个数字用大写字母从A到M编号。在前景中，描绘在纸的下半部分，描绘了人体不同的骨骼靠在基座上并躺在基座上。每一个都被描绘了多次，以显示骨骼的前部和后部以及部分，以显示其内部结构。所有这些都用小写字母a-z和数字1-12进行编号。在作品的中心，底座前挂着一张画，画上的头盖骨上半部分被放在燃烧的蜡烛前，露出了接缝和看起来像骨折的地方这个盘子是为Cristomo Martinez y Sorli的所谓"Atlas Anatomio"设计的。正如他所计划的，这本书包含了17世纪最权威的解剖版画。他的目的不是像其他人一样只关注人体的组成，而是展示身体各部分之间的相互关系，并使其发挥作用。他使用显微镜镜头中的最新技术来研究单个骨骼和神经系统的组成，并将放大后的图像转换成对开本大小的铜板，其中包含了比以往印刷品中所见更多的细节马丁内斯于1680年代初在西班牙开始该项目，并于1687年搬到巴黎继续工作。当他于1694年在九年战争期间流亡佛兰德时，该项目并未最终完成。这本书的铜版似乎留在了巴黎，1740年，两个铜版作为一套印刷在那里。在此日期之后，没有关于他们下落的进一步记录。瓦伦西亚的档案馆中还保存着另外16个关于他的盘子的印记，这些印记是马丁内斯在巴黎期间寄回家的，作为他从西班牙国王那里得到的养老金的补偿。
介绍（英）	Architectural view of a square with pedestals and obelisks. The composition is divided in two halves, with on the top half 14 human figures in various poses, depicted in outline with an emphasis on their skeletal structure. Twelve figures have been numbered A through M in capital letters. In the foreground, depicted on the bottom half of the sheet, various different bones from the human body are depicted leaning against and lying on the pedestals. Each is depicted multiple times to show the front and back as well as the section of the bone to reveal its internal structure. All are numbered with lower case letters a-z and numbers 1-12. In the center of the composition, a drawing is hung in front of the pedestal which shows the top half of the cranium held in front of a burning candle to reveal the seams and what looks like a fracture. The plate was meant for the so-called 'Atlas Anatomico', by Crisostomo Martinez y Sorli. The book, as he had planned it, contained the most authoritative anatomical prints made during the seventeenth century. Instead of solely focusing on the makeup of the human body as others had done before him, his intention was to show how the parts of the body related to one another, and made it function. He used the latest technology in microscopic lenses to study the composition of individual bones and the nervous system and translated what he saw under magnification into folio-sized copperplates, which held more detail than had ever been seen in print before. Martinez started the project in Spain in the early 1680s, and moved to Paris in 1687 where he continued his work. The project was not net completed when he died in 1694 as an exile in Flanders during the Nine Years War. The copper plates for the book appear to have been left in Paris, and two were printed there as a set in 1740. After this date, there are no further records of their whereabouts. 16 other impressions of his plates are kept in the archives in Valencia, which were sent home by Martinez during his time in Paris as recompense for the pension he received from the Spanish crown.